This is a guest post authored by Mr Brian Crossingham.
In the pages of the South Solitary Island Visitor log book are two very important and separate entries – one dated 10 July 1914 and the other on the 23 September 1914. Both entries having been made as Lightkeepers left the Island to join the Australian Imperial Force (AIF) and the 1914-1918 War. One keeper was born in Glasgow and the other in London – both had served in the British Navy, and both had served as Signallers.
By circumstances or fate, or both, they would find themselves on the battlefields of Gallipoli at the same time and both would sadly make the ultimate sacrifice. If not on the same day, then within days of each other. One was Scottish, the other English and both fighting with Australian forces.
We can rightly look to their courage and sacrifice as part of the foundation of the ANZAC spirit borne out of that conflict.
No. 65, Private James Logan 1st Battalion, First Infantry Brigade.
His military record shows he was born James Glendinning Aiken Logan on the 26 Sep 1878 in Govan, Glasgow, Scotland, was single and had served 15 years with the Royal Navy in Signals. He enlisted at Randwick, Sydney on 31 August 1914. He was transferred to the 1st Battalion HQ – Signallers on 2 January 1915.
He had nominated his sister’s daughter, Miss Daisy Logan Gordon, Montreal Canada to receive his personal effects. He also had a brother No. 1916 Sergeant A. S. Logan, Engineers Depot, Moore Park who had made enquiries regarding James.
Along with the Battalion and Australian Infantry Force, James was shipped to Alexandria, Egypt and then on to the Dardanelles.
Records show James was killed in action between the 1st and 4th May 1915.
James’ brother advised the Defence Department that their mother Mrs Jane Logan was still alive and living in Glasgow and would be pleased to receive any service medals etc. to which he believed she was duly entitled.
On July 10, 1914 – James Logan – wrote in the Visitor log book
Just finished 5 months duty Relieving Officer, & during my stay, made very pleasant by all it proves the old saying “The best of friends must part.” So goodbye to all For Auld lang synes sake
A further notation in the Visitor log book indicated he had
Left Sydney – first Expeditionary Force and then sadly James Logan Relieving officer Killed Gallipoli April 28th 1915
No. 956, Private Walter J. Lowen, 13th Battalion.
On September 23, 1914 an entry made in the Visitor log book reads
Walter Lowen 2nd Assistant Solitary Island
Left for Sydney expecting to go to the front
Lowen enlisted at Rosehill Camp Sydney on 28 August 1914 and was taken in as a Signaller. His military record shows he was born in London, was 25 years old, was single and had served 5 years with the imperial Navy. He had nominated his mother Mrs Elizabeth Lowen of London as next of kin.
He embarked the HMAT A38 “ULYSSES” in Melbourne on the 22 December 1914 headed for Egypt. Then deployed to the Dardanelles and Gallipoli. This now coincident with James Logan’s deployment.
Records show Walter was killed in action at Gallipoli on the 4th May 1915.
Having noted the death of a Private W. Lowen 13th Battalion in the casualty lists, a letter in the name of the Sydney-based Superintendent of Navigation was despatched to the Defence Department seeking clarification as to whether this was the same Walter J. Lowen 2nd Assistant Keeper Solitary Island Lighthouse, an officer of the department. This was subsequently and regrettably confirmed.
A further notation in the Visitor log book tells us he had been
Killed in action at Gallipoli – per C J G
where C J G was the then Principal Keeper – Christopher J Gardner.
Both Logan and Lowen are named on the Lone Pine Memorial to the Missing.
 South Solitary Island Lighthouse Visitor log book – 1880-1933, National Archives of Australia, C748 P1, https://bit.ly/3v0n5Iu
The Coffs Harbour Regional Museum became a reality after a concerted effort by the Country Women’s Association, which started amassing objects and information from August 1952. This was complemented by George and Naomi England, who were approached to establish an Historical Society in 1955. 
There has been more than one Museum building. The first one was on the drawing board in 1978:
An architect is to be commissioned to prepare working plans for Coffs Harbour museum. The shire council gave its approval this week when it also voted to borrow $40,000 towards the cost of the museum. The plans will be prepared in collaboration with council staff and the Coffs Harbour Historical Society. Tenders will be called for its construction when the working plans are completed.
The historical society, in a letter to council, said it had $6000 which it intended using for furnishings and certain fixtures. However it was prepared to put this money towards the cost of the project. The society was confident that if the money was needed it could raise extra money for furnishings. However council will not use the society’s money unless costs exceed council’s allocation.
PLANS FOR A MUSEUM (1978, February 22). The Bananacoast Opinion (Coffs Harbour, NSW : 1973 – 1978), p. 1.
A special site to display the collection was chosen at 191 Harbour Drive, and it opened in 1988. At the edge of Carrall’s Creek, it was very near to the location of Coffs Harbour’s first cottage.
The Historical Society shut down in late 2004, and the collection and the responsibility for its care were taken on by the Coffs Harbour City Council. This was officially acknowledged on Australia Day 2007.
Only two years later, there was an extreme weather event, the second to affect this building. (The first flood occurred in November 1996.)
It took a year for the Coffs Harbour Regional Museum to find a new location after the catastrophic floods of March 2009. In the interim, there was no curated exhibition space available to the public.
An old new contender emerged to be the next Museum, at 215 Harbour Drive. The building itself, with history embedded in every corner, made up for the loss of connection with the community. Even its purpose as an Antiques business prior to becoming a Museum seemed like a perfect match. It took four years to salvage the collection and prepare it for display.
At the time of re-opening in 2014, the building was 107 years old. It had been designed by Walter Liberty Vernon, state government architect, as a Police Station and Courthouse. It housed two constables; a tracker, Carty Craig, lived elsewhere.
This building operated as the Police Station and Courthouse until the new facility was built at 20 Moonee Street in 1963, and then took on many lives. It remains as a significant historical icon in central Coffs Harbour.
Its function as Coffs Harbour Regional Museum finished on Saturday 26 February 2022. Farewell CHRM. We’ll see you in the Yarrila Arts and Museum at 31 Gordon Street soon. Until then, the Museum’s collection is available for browsing at Coffs Collections.
Once upon a time, the Arts referred to entertainment:
There is no generally agreed definition of what constitutes art, and ideas have changed over time. The three classical branches of visual art are painting, sculpture and architecture. Theatre, dance and other performing arts, as well as literature, music, film and other media such as interactive media, are included in a broader definition of the arts.
The purpose-built Coffs Harbour School of Arts was opened in September 1904, with a large ceremony attended by practically the whole town. In previous years from about 1897, an old slab school was used as a library and a general purpose meeting place.
The School of Arts was located on the north side of High St (now Harbour Drive), between Grafton Street (now the Pacific Highway) and Castle Street.
The building was revamped in 1908, which involved moving the building back 12 feet and adding a new front comprising a library and reading room on the ground floor and a smoking room upstairs.
Initially the School of Arts was used for dances, balls, musical events, plays and public meetings. From 1912, motion pictures were shown, so the committee appointed Chas Dutton to be the full-time custodian.
In 1919, the committee decided that a more permanent and regular showing of movies should be established, with films of Charlie Chaplin and a ‘6 reeler’ of Norma Tallmadge with pianist accompaniment. Two Pianists were also appointed to provide the weekly dance music, which they received the equivalent of $1.05 per night.
War-time meetings, farewells to enlisted men and welcomes of gratitude for returning veterans added much to the School of the Arts. The showing of movies remained popular throughout the 1920s. The School of the Arts made a quick transition to the ‘talkies’ showing its first talkie on Saturday 10th January 1931.
The trustees of the School of Arts decided they needed a more spacious hall and it wasn’t until 1927 that a re-build was arranged to accommodate functions like a Masonic Ball, a Hospital Ball and a Show Ball.
In 1935, the School of the Arts building was in such a dilapidated state that a meeting of its members chaired by the then President M.J.P. Hammond considered re-building. This was however delayed with only a £50 outlay for painting the front of the building which was agreed upon… a disgrace by all accounts.
As soon as the guttering around the School was pulled down by ‘peepers’, who had been climbing up the windows to view the pictures inside, a decision to remodel the building came up for discussion again in 1937.
Various committee members were appointed to make a detailed investigation of the dilapidated Arts building, but nothing ever came of this. Mr Charles Vost was the President at the time.
Soon after the outbreak of World War II, a meeting of the School’s members recommended that it should be handed over to the Dorrigo Shire Council, with the object of having a Town Hall and Shire offices built in lieu. The War put an end to all such ambitious plans for renovating the School of Arts. A further 24 years were to pass before it bowed out in favour of a Town Hall, built on a different site. During the first five or six post war years, the committee of the School of the Arts grappled with the problem of its then dilapidated building.
In 1947 an approach was made to the Shire Council offering to combine with the Council to erect a Civic Centre, with the understanding that the School of Arts would contribute funds from the sale of its High Street property, and the Council would incorporate a public hall, billiard room and library in a new centrally located complex, with Shire Chambers. In 1948 this proposal to combine with the Council failed.
Subsequently, a proposed new 20,000 two-storied brick building received consideration and President Vost obtained Ministerial approval for it from the Department of Education in Sydney. Two months later a building committee was appointed. (Meeting minutes from various 1940s School of Arts committees are available in Coffs Collections.)
A proposal also in 1948, to have the frontage of The School of Arts converted into shops for letting, advanced another step in 1950 when that was approved and a loan from the National Bank of Australia of £3,750 were forthcoming. A fresh fruit and vegetables shop, a dry cleaners, a Library and a lottery ticket sales shop then graced the front of the building.
The demise of the School of Arts premises took place in 1958, when it was finally realised that the property was recognised as over-capitalised in relation to the income being derived from it. Being located in the heart of the shopping centre, the site had great commercial value.
Woolworths, with an offer of £56,500, purchased the property in 1960. The offer was accepted.  A new venue was constructed elsewhere.
Well ahead of Coffs Harbour, the Woolgoolga School of Arts was built in the 1890s to serve the social and cultural needs of the community. Although it was a poorly built wooden structure, it served for several years as the main venue for concerts, dances and a library. Catholic Masses were also held there with record congregations.
The Woolgoolga School of Arts had a fairly short life, according to Otho Alverson – bushworker, who settled in Woolgoolga in 1889. Otho recalled attending the dances which were held regularly there, with a single admission charge of one shilling. Each month a Ball was held and tickets for admission was three shillings and six pence for a double. People came on horseback from Corindi, Halfway Creek, Glenreagh and Bucca Creek to attend these functions at the School of Arts.
One of Woolgoolga’s residents, Ernie Younger, remembers starting school in 1907 having to move first into the School of Arts while a new school was built between the Black Tracker’s Hut and the Police Station. 
The Department of Education rented the School of Arts for five shillings per week to conduct glasses there. It was officially vacated by the Department on 31st December 1908 when the lease ended.
During the 1920s, the School of Arts was pulled down and any useful timber went to the building of a house next to a store in Beach Street. The store was still standing in 1981, but the house was removed in about 1971. School tennis courts now occupy the grounds where the School of Arts once stood.
The Coramba School of Arts was built in Gale Street in 1912 on land donated by William Gale. As it was nearing completion it was physically moved back and a Coffee Palace was added fronting the Street.
It became the centre of the town’s social life for many years, having its own band and at time featured a Black and White Minstrel Band with stringed instruments. Three act plays were also featured. Madame Melba, Dame Clara Butt, Slim Dusty and Ada Crossley were some of the visiting artists to remembered from early times.
School concerts were an annual event as were Debutante Balls. In 1918 a benefit was held for a family affected by a mill accident. A few years later an Amateur Theatrical Society called “The Cats” appeared. Old timers recall ‘good shows’ being performed at the School.
SUCCESSFUL FUNCTION. On Saturday night last in the local School of Arts, a dance and concert were held in aid of the candidature of Miss Doreen Shone in the local queen competition. Mr. Les Evans, of Grafton, was mainly responsible for the thoroughly happy time enjoyed by all and also for the several concert items supplied by a party he brought from Grafton. The attendance was one of the best seen in Coramba for a considerable number of years. Molly Tomlinson, of Grafton, contributed a sword dance and the Highland fling to the accompaniment of Mr. P. McPhee with the bagpipes. Later in the night Molly again appeared on the stage, but this time recited “If.”
Mr. Les Evans greatly amused the audience with “Larrikin Tom.” “Larrikin Tom” was a huge doll, and Mr. Evans, who is an excellent ventriloquist, had everyone in the hall rocking with laughter. The orchestra consisted of Messrs.- P. Matheson, sen. (international accordion), Mr. P. Matheson, jun. (piano-accordion) and Mr. J. McPhee (drums). This orchestra was also brought from Grafton by Mr. Evans.
As Coffs Harbour Regional Gallery celebrates 20 years, it’s time to reflect on humble beginnings in a tiny office space to its coming of age in a new home, Yarrila Arts & Museum (YAM), opening late 2022. Yarrila is the local Gumbaynggirr word for illuminate, brighten or illustrate.
The list of people who made Coffs Harbour Regional Gallery a reality in 2001 is even longer than the timeline to get there, and the role it plays in enriching the community is complex. From inspiring audiences and supporting artists, to caring for collections and educating youth, at the gallery’s heart remains the drive to champion cultural development in the region.
“Twenty years ago a group of passionate people working with the support of council helped establish the regional gallery, and since the beginning it’s staged exciting exhibitions and creative events that bring our community together,” says Acting Gallery Coordinator, Lisa Knowlson.
An existing office building, Rigby House, was acquired by the Council to house the new gallery and library on the ground floor. Initially the new Regional Gallery opened with just half of the current area, before expanding a year later into the full space you see today.
There to support the gallery over the years with events and fundraising, has been volunteer group, the Friends of Coffs Harbour Regional Gallery. “It has become a special place for us all to connect with culture,” says Friends’ President, Heather McKinnon. “One of the most important achievements of the gallery over the years has been building the relationship with our Gumbaynggirr community. We’re proud to have played a part in the gallery’s progression, including sponsoring STILL and expanding the collection of still life art.”
The Friends have contributed works ranging from Archibald-winner Ben Quilty to convict artist William Beulow Gould c.1840, and this year will fund seven acquisitions from STILL including a work by Bidjara artist Michael Cook. The gallery’s signature art prize since 2017, STILL: National Still Life Award has built on the previous success of EMSLA, first established in 2007. The biennial STILL Award was created and established by Cath Fogarty, Cultural Development, Gallery and History Services Coordinator (2016 – 2021) and her team in 2017.
Over twenty years ago, Toni Southwell had returned to her hometown of Coffs Harbour with an arts’ degree and joined the effort to set-up the regional gallery. “I was a youth representative on the working party when council sought input from artists, art groups, consultants and people across the community,” Toni says.
Opening with one paid position for a Gallery Director, Toni, like many young people in the regions, moved onto Sydney to secure work but is now back in the gallery as Programs Facilitator. She says a regional gallery bridges the gap for local artists who often struggle to find somewhere to exhibit.
“Over the years many local artists have had their work shown here and shared their stories or creative practice,” adds Toni, who is looking forward to the larger, purpose-built gallery at YAM.
One of the first exhibitions in 2001 was Our Place: Images of Coffs Harbour & Regions, which brought together works depicting the region by local artists and well-known names like Dunghutti artist, Robert Campbell Jnr. Two decades later, works by Gumbaynggirr artists will open YAM in a potential re-interpretation of this concept titled, Yaam Gumbaynggirr Jagun, here is Gumbaynggirr country.
In the somewhat daunting queue of items awaiting our attention to be added to the Museum’s collection, we found a small set of interesting photos we had never seen before.
Unfortunately, the photos did not have any indication of who donated them or when. The Museum is often a ‘victim’ of what might be termed ‘a hit and run’. Items which seem to have historical relevance are left at the Museum door or the Library desk without contact information or details about why someone considered them to be important enough to leave with us. The queue grows longer while we try to establish the significance of items and spend extra time tracking their historical value.
Items without context, dropped off or poorly scanned and emailed in, are less interesting all round. Should we spend the time investigating them, or only choose items for the collection which have all relevant information attached? How do we share the story around orphaned items with the community we serve?
Fortunately, in the case of this small set of photographs, there were a couple of accompanying articles. Unfortunately, the sources and dates of some of those articles were cut off; another frequent act which slows down our research. Should we spend the time to find out more at the expense of other more deserving items?
Jonas Zilinskas was a Lithuanian-born acrobat who came to Australia as a Displaced Person after the end of World War II. In the early 1950s, he performed in Wirths’ Circus, gripping a metal bar inside his mouth for a trapezist to swing from. During a performance the trapezist moved the wrong way, pulling the bar and several teeth from Zilinskas’ mouth. They both took a career break.
His second job was in the Newfoundland State Forest [Yuraygir National Park] as a sleeper cutter. He lived and worked in this forest with one colleague, both dressed only in hat and boots. He invented a swingcut saw for them to use together. Before his departure two years later, Zilinskas constructed a sculpture of himself with materials to hand including keys, beer bottles, timber and concrete.
Zilinskas was able to resume his celebrated circus career with Ashton’s and other circuses.
We don’t know exactly when the photographs of Jonas’ sculpture were taken, or who the photographer was, but the story they represented was extraordinary. Zilinskas made an impact. His contribution to our community and the broader Australian story was indeed noteworthy.
In the absence of complete supporting information being provided by potential museum donors, we do our best, within limited timeframes, to establish the importance of any item. Meanwhile, the queue of unidentified items grows longer. One day, we will be able to find the right home for each of them. It’s a temporal balancing act.
From desperation comes inspiration, often manifested 10-fold when two people share ideas. When Tony La Spina met Grace Roberts, a new creative industry was born.
Grace Roberts was a respected Bundjalung Elder. She was persistent in pursuing opportunities for children in Coffs Harbour. In 1963, she attended a meeting of the local Aboriginal Welfare committee. 
Also at the meeting was a new schoolteacher to the town, who had an interest in Aboriginal Affairs. His teaching subject was art. He suggested they try some screen printing, just basic designs and perhaps get a cottage industry going. This idea appealed to Grace greatly.
With her enthusiasm and the support of other women at the mission the craft work got under way.
Pottery was introduced and eventually even the children were encouraged to make small clay motifs called Mooks Mooks. These were an abstract design on a small pottery disc threaded onto a leather thong. They were neatly mounted on cardboard with a printed legend of the Mook Mook. It was to become a viable enterprise, making a small profit.
Art teacher Anthony La Spina had moved to Coffs Harbour in 1962. 
Along with raising a family of four with wife, Rae, a move to Coffs Harbour, NSW in 1962 saw Tony teaching art with TAFE (which he was to continue for the next 28 years) as well as teaching art at the Jetty High School and Orara High School – during which time he was seconded to the University of NSW for 3 years to work within the Aboriginal community establishing the Playgroup movement for children.
One of the children who created Mooks Mooks still does so today. He is local artist Tony Hart. He recalled making them and selling them for 20 cents each, a close match to their size. Their sale provided the children with much welcomed pocket money. This is a more recently created one.
Each Mook Mook is unique, and when worn, is meant to discourage negative influences. It will join the work of Tony La Spina in the Regional Gallery’s collection , a fitting symmetry.
One year ago, on 1 September 2020, Coffs Collections was launched. It was the work of a two-year small-team project to prepare digital cultural infrastructure for digitising and sharing the cultural and historical collections of the Regional Museum, the Regional Gallery and the Library. One member of that team shared her view of the outcome:
We have never had all our records or images in one place before, and they’ve never all been publically available before. Coffs Collections has been a breath of fresh air in managing our content!
(On a personal note, it has also meant that I could find sustainable employment in my home town.) I’m so excited for our first birthday!
Nerida, Digital Cultural Collections Specialist
The new service is already starting to make an impact, on Council colleagues and the wider community. Local ABC Radio has created snippets of the interviews to replay each week. Donations, including one recently made by videographer Graham Bell, and research such as an exploration of the Glynn’s cordial factory have been inspired by the easy availability of our local history.
I use Coffs Collections to get a sense of how the environment has changed over time – i.e. have fish stocks (quantity and size) changed, what did specific places look like in the past etc. We then incorporate this information into the tours that we guide.
Elisabeth, Sustainable Living Programs Officer
The interest in preserving Coffs’ identity over time started in 1952, when members of the Country Womens’ Association decided to record information and gather artefacts about the town’s and district’s history. Their enthusiasm, combined with that of educators such as George England (high school teacher), resulted in the development of an historical society for the region in 1955. [Coffs Harbour Vol II : 1946 – 1964, Yeates, 1993, p.167]
Mr England was keen to capture the area’s earliest history too. Another educator, Neil Yeates (university lecturer), subsequently documented the histories of Coffs Harbour and Woolgoolga in three volumes. Much of the raw materials they used and the information they captured are stored in or linked to by Coffs Collections. This service is an expression of our gratitude for their work.
In the years leading up to 2001, and with the support of ambassadors the Banana Twins, the region’s artistic endeavours were drawn to a dedicated facility. As a result, the Coffs Harbour Regional Gallery is celebrating its 20th birthday this year. All of the exhibitions held by the Gallery are available for viewing as a timeline in Coffs Collections.
The first Coffs Harbour City Council digitisation project curated the photographic collection of the Regional Museum, and culminated in the Picture Coffs Harbour service in 2008. It was switched off and integrated into the new service last year.
The community is fortunate to have this very accessible platform – a foundation for the discovery of our identity – which we continue to build on.
Debbie, Local Studies & Digitisation Librarian
When Create NSW funded the project to build Coffs Collections, no one had foreshadowed the impending pandemic lockdowns. The grant opportunity became even more significant, and resulted in a rare example of a merged regional gallery and museum service envied by many other cultural agencies.
Capturing local stories in this single convenient web location will soon be reflected in the co-location of the three cultural facilities – Library, Gallery and Museum – at one physical destination in 2022. We look forward to a shared future.
Coffs Collections makes researching our collections so much easier and more pleasurable. There is so much rich material to be explored and real gems to be found. Prepare to be taken by surprise as your view of Coffs’ history is upended!
Dr Will Speece was a much-travelled and well-read man. His contributions to newspapers wherever he went show a person with an insatiable curiosity for life, commenting on many different subjects of interest.
He appears to have travelled to Adelaide in 1890:
He completed a year’s work in Cobar in March 1893:
Dr Speece returned from the United States in 1894:
A lot of the travel required transfers through Sydney, but it is not clear where Sidney Herbert bumped up against Will Speece. Perhaps Herbert chanced on a newspaper which mentioned his name? A first hint of misdemeanour by Herbert occurred in 1891:
It did not take long for this activity to come to the attention of the police – a notice was issued for the arrest of Herbert on 15 April 1891, and he was arrested 10 days later. The subsequent four years of his hard labour broke the link.
Dr Speece was always in the spotlight in his final town of residence. An article appeared in The Coffs Harbour Advocate on 6 May 1970:
Being very short-sighted, he had great difficulty in finding his way at night and was forced to rely upon his horse’s sense of direction. On being presented with one of the newly introduced electric torches he fixed it to his horse’s head, explaining that the light was no damned good to him but the horse might make use of it.
On teh closure of the mines and the departure of most of the miners, Dr Speece remained at his home “The Fortress”, as he considered that it was the most central position in the district which he served.
(part of a reminiscence related by Mr W. Buchanan of Karangi in his address to a meeting of the Historical Society.)
A sojourn in Coffs of short duration, but with a big impact on the life of this town.
As noted in our last post, Dr William Comely Speece was the first doctor to settle in the local area. The first resident General Practitioner was Dr Robert Kane, appointed in the same year as Will Speece died – 1907.
Will Speece had been in the district for only nine years. He came to Australia in December 1885 as an unassisted saloon passenger on the Zealandia.
He immediately sought to be legally registered in New South Wales:
Not long after, Dr Speece attracted an imposter: Sidney Herbert a.k.a. Herbert Saunders, a.k.a. Lardner, a.k.a. Dr Spence. The names Lardner and Spence may possibly be a journalist’s misprint. Which was his real name? The only one we know with any certainty was that he was not William Speece.
He was arrested as Herbert Saunders, and was known to police:
Before he had even crossed paths with Dr Speece, this person did four years of hard labour on a road gang.
Interestingly, his release information mentions that he had travelled on the Zealandia – the same ship on which Dr Speece migrated, although in a different year. This postal service ship first arrived in Australia in 1876 from England. Its passage was acknowledged as notable for the shortened time travel:
The Coffs Harbour Regional Museum recently received a treasure in the form of a letter written by Dr Will C. Speece at the turn of the 20th century. The letter was compiled on a typewriter, but that did not hide the tone of the writing: “I warn you that the doctor’s instruction’s [sic] to the crowd in search of grati-fied curiosity is_go to hell or go home_ and you see that you do as I say.”
Will Comely Speece was an American surgeon with a degree from Starling Medical College in Columbus, Ohio, his home state. He graduated in 1883. 
He migrated to Australia in 1885 on the Zealandia, practising first in Queensland as a medical insurance agent. He came to this region in 1898 as a doctor for the Bucca Mines, but as he was the only one in town with medical expertise, he also cared for the local population.
Dr Speece was also an avid writer of Letters to the Editor. He started soon after arrival in Australia; sending epistles to several newspapers and The Bulletin on topics unrelated to medical matters:
Some commentary is no longer appropriate, but he did want the best for his fellow man.
Dr Speece died on 10 October 1907, at the relatively early age of 45, after a short bout of pneumonia. His death certificate indicates that he was buried in the Coffs Harbour (Historic) Cemetery, but there is no record of his gravesite. [Source: NSW BDM 12829/1907.]
While investigating the life of Dr Speece, it became apparent that there were two men with the same name and title. After a series of crimes in the late 1870s, Sidney Herbert started using the name in 1891.
Where did their paths cross?
Why did Speece choose this area to settle in?
To be continued…
 California, U.S. Occupational Licences, Registers, and Directories, 1876-1969; Annual Physician Directory, 1896
The Coffs Harbour Regional Museum expresses its gratitude to the Coffs Harbour District Family History Society for passing this treasure into its care, for all to read.